


Interaction

by Moonbike



Category: Fall Out Boy
Genre: Canon Compliant, M/M, Pining, Sort Of
Language: English
Status: Completed
Published: 2018-10-06
Updated: 2018-10-06
Packaged: 2019-07-26 01:14:56
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 1,626
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/16209599
Author URL: https://archiveofourown.org/users/Moonbike/pseuds/Moonbike
Summary: A study on stagegay.





	Interaction

**Author's Note:**

> A lot of thanks to [1833outboy (phancon)](https://archiveofourown.org/users/phancon/pseuds/1833outboy) for betaing the work!

_2005-2006_

Pete often says that he’s singing his words through Patrick. He likes to think he is. Even more than that, he likes to think he knows how to behave on stage and make sure kids won’t get bored. He likes to think that it’s making Patrick feel more confident.

During basement and small club performances Pete sometimes comes closer to Patrick and mouths the words to him. Sometimes at the end of the show he jumps on Patrick, the wire from the mic wrapped around him. He’s high on the show energy – he can do anything.

When they’ve made it on TV and the shows become bigger Pete decides it’s time to be more professional. He starts planning the stage interactions. Patrick quickly makes it clear that his own interactions are limited to standing in one place and hiding behind the brim of his hat, and that that’s not going to change any time soon. This could become a problem but Pete already has a plan. It’s vague, improvised, and copied from others but it’ll work out, he’s sure of it.

A head on the shoulder, the words whispered at the ear or neck, standing back to back. Pete’s trying new interactions, practicing old ones, checking the reaction from the audience and Patrick. Kids like it; Patrick says nothing. The plan’s working. Is it working the right way? Pete doesn’t know yet. Doesn’t care. He likes to pretend that these small interactions are not only entertaining the kids, but also making his words feel closer, like he can almost touch them. Sometimes it’s true.

-

_2007_

Patrick’s been humming “Mr. Brightside” for the third day in row. On the fourth day Pete’s making him sing it during soundcheck. Everyone likes it; the song goes on the setlist. Kids are welcoming the cover with enthusiasm. The internet – less so. A month later Patrick’s saying it’s a bad idea, but he’s persuaded to keep the cover until the end of the tour.

During the next soundcheck Pete watches Patrick sing “It was only a kiss” in Flowers’ voice and suddenly he has an idea. A really great one.

“No”, Patrick says.

“Kids will love it”, Pete insists, eyes glowing. “Also, they won’t notice... What did you say the other day? You’re “not good at singing it?” That’s bullshit Patrick, it sounds perfect to me.”

“And it’s not only for the kids, I really kinda wanna kiss you when you’re singing it.” That’s what Pete doesn’t say, but Patrick looks into his eyes and seems like he knows. He says nothing though, just shakes his head with a grunt and starts the verse again, but Pete knows he’s already won. He feels strange for a second: they’ve never talked about the stage interactions like this before, but then he’s distracted and the feeling is gone.

The second verse starts. Pete comes closer, takes aim, and leans in abruptly. Lips slide over his sweaty cheek, kids are screaming, Patrick pretends nothing happened. This was a great idea, Pete thinks, what a pity it hadn’t come to his mind earlier.

-

_The end of 2007_

They perform “Headfirst Slide” for the first time. This song is special: painful, bitter. Pete can’t just stand there, his own words tear him apart from the inside, and Patrick’s voice sounds so distant, like an echo. So Pete does what he always does: shortens the distance between them. One moment he’s on the other side of the stage, next moment he’s hugging Patrick. Somehow this natural impulsion to become closer was a miscalculation, but Pete realises it too late, feeling Patrick jump and miss a note. Shit. Pete presses himself closer and nuzzles his neck with his nose - or whispers apologies; he’s not sure.

After the show Patrick calls Pete’s name. A very annoyed Patrick in a sweat soaked t-shirt, with a towel on his head, holding only a half-empty bottle of water: a bad sign. Pete’s quickly trying to prepare a defence. “Stage interaction.” “A burst of energy.” “For the show.”

“For fuck’s sake, Wentz.”

Pete just nods. Wait out the storm. Let him burn himself out. Then defend yourself.

“You know, next time my guitar might meet your face. By accident.”

“Patrick, listen…”

“Ok, so, here’s the deal”, Patrick rubs his eyes wearily, his voice suddenly two times calmer. Pete feels a relief and a pang of guilt. “At the next soundcheck you’ll tell me on which songs I should expect this…” he waves his hand, uncertain. “…thing. Ok?”

“Yeah, sure.”

“Good.” Patrick slowly walks past him like he expects Pete to say something, or joke, but Pete keeps silent. Patrick walks faster. Pete’s glad that the problem has been solved the easiest way possible. For a second, he felt like he missed something, but only for a second.

-

_2008_

Everything that had been a repeated never discussed improvisation now becomes an established list. A head on the shoulder during the bridge of “I'm Like a Lawyer”, “Now I only waste it dreaming of you” being whispered in the ear during “Of All The Gin Joints”, “Grand Theft Autumn’s” bridge played together, “More than an hour” shouted to each other during “Saturday” – that’s the main routine. Falling on the knees, or a hug, during “Headfirst Slide” – on a sample basis. Pete hates being predictable but he’s ready to give in for the sake of a good show, and for Patrick.

-

_2009_

“im trying to convince patrick to waltz with me at the end of it. actually it may be fox trot box step or something”

The “Coffee For Closers” outro begs them to waltz to it. Pete says so to Patrick and Patrick predictably says, “no”. And, “you can’t dance”. They argue, Pete’s grabs Patrick’s hand, trying to move him into the supposed “fox trot”, but Patrick pulls away and tells him that this is stupid. And that Pete’s stepped on both of his feet. And that the guitars will be in their way. The last bit is taken as a strong argument and Pete suggests a compromise: they’ll stand across from each other and do steps in a circle. Should be two full circles. Should be fun. Kids will like it. Patrick shakes his head skeptically, but finally agrees and walks away from him. Pete stands there watching him tuning his guitar and trying to figure out when the stage interaction discussions became so complicated. Is it because everything seems to be more complicated recently? There’s a call from their manager that distracts Pete, leaving this thought to bother him from time to time in the back of his mind like a chronic heartburn.

On stage he sometimes messes up the timing – by accident, or to spite Patrick. Patrick always looks right through him and does his steps perfectly in time with the beat.

***

“Headfirst Slide” is still special, the words are still tearing Pete apart, he can’t stand still and goes over to Patrick, but not every show now. Is it an effort to keep the last bits of unpredictability or does the song start to lose its magic? Pete’s trying not to think about it. Instead he gives a stupid pre-song speech about loving someone and pokes or tickles Patrick’s lower belly when he’s not trying to walk away. Or during the performance he takes a running start, falls down to his knees and nestle his head against Patrick’s side. His knees hurt, but it feels good.

One time they’re performing “What a Catch”: the song’s not on the “interactions” list but the words are. Pete knows that being sung by Elvis Costello they don’t sound the same, but there’s no Elvis Costello on stage now, only Patrick, and suddenly it’s too much. Pete comes to Patrick and nuzzles his neck, eyes closed. He expects a head shake or an elbow in his chest but Patrick does nothing, just presses closer. For a second Pete feels like everything’s alright again, but only for a second.

-

_2011_

Truant Wave arrived in a big box. Pete doesn’t have a working record player, but he examines the vinyl very carefully before putting it on a shelf. He posts a picture of the package on his blog, reposts it to his twitter, then opens Itunes and presses play. It’s so weird to hear the words that are not his. It’s very hard not to think of what Patrick meant by these words. What he was thinking about. What he was putting into them. Somehow Patrick was always very good at the “not thinking about the meaning” part.

_The sad and selfish  
Stay helpless_

Pete presses stop and takes off his headphones.

-

_2013_

The meeting takes a several days. They discuss everything at once; Pete still thinks it’s a dream. New rules, new attitude, old songs. At the soundcheck Patrick’s very nervous and laughs a lot. During the small break he comes over to Pete and they talk about the show stuff; learning again. They discuss the performance. The sound. Stage interactions.

“So, um, I was thinking… we don’t need this…” Patrick waves his hand, uncertain. “…thing anymore, right?”

Pete feels a bit sick.

“No, of course not.” His cheeks hurt from a too wide smile. “Why show this suffering-emo nonsense when we’re trying to save rock-n-roll?”

Patrick laughs.

“Not emo anymore?” he asks, smiling.

“Not emo anymore.” Pete nods.

The next day, in the middle of a radio show interview, Pete makes a joke and puts his hand on Patrick’s back, then immediately takes it off. Yesterday was their first show in a long time, their backs hurt like hell. That’s what Pete tells himself, and tunes back into Patrick’s monologue. For a second, he felt like he missed something, but only for a second.


End file.
